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Gareth von Kallenbach (968 KP) rated Valentine's Day (2010) in Movies
Aug 8, 2019
Ashton Kutcher has put down his pranks and camera to return to the big screen leading in this star packed Los Angeles romantic comedy. This feature ties together stories of love, truth, and romance, all taking place within the span of a single Valentine’s Day. The film considers relationships from multiple angles and does a fantastic job intertwining individual stories into a single plotline. Yet before preparing for another “Love Actually” let it be know that the tone of “Valentine’s Day” is entirely its own.
As previously mentioned the cast is comprised of film and television stars including but not limited to Julia Roberts, Anne Hathaway, Hector Elizondo, Queen Latifah and not one but two Jessicas (Biel and Alba). As if that were not enough to drawn in big numbers at the box office, “Valentine’s Day” also stars Jennifer Garner, Jamie Foxx, as well as the Mc-actors from Grey’s Anatomy (Patrick Dempsey and Eric Dane). Still not convinced? Then add in Shirley MacLaine, George Lopez and both Taylors (Swift and Lautner) and you’ve got yourself a guaranteed hit, but does the film actually utilize this outstandingly one of a kind cast? Actually it does.
The film is unexpectedly scattered with all the ups and downs of Valentine’s Day from pink and red color schemes to an anti-Valentine’s piñata beat down. All of the scenes are either engaging and honest or delightful and light covering romantic scenarios that truly run the gauntlet. Seriously where else are you going to see Julia Roberts in fatigues and Anne Hathaway as an adult phone entertainer?
I honestly wish there was more to gripe about considering that this film is just a fun romantic comedy, but “Valentine’s Day” is fresh and enjoyable for every minute of the film. Much funnier than I ‘d expected and not insultingly mushy, Valentine’s Day is a perfect date movie which will be a surprise hit even for those romance cynics.
As previously mentioned the cast is comprised of film and television stars including but not limited to Julia Roberts, Anne Hathaway, Hector Elizondo, Queen Latifah and not one but two Jessicas (Biel and Alba). As if that were not enough to drawn in big numbers at the box office, “Valentine’s Day” also stars Jennifer Garner, Jamie Foxx, as well as the Mc-actors from Grey’s Anatomy (Patrick Dempsey and Eric Dane). Still not convinced? Then add in Shirley MacLaine, George Lopez and both Taylors (Swift and Lautner) and you’ve got yourself a guaranteed hit, but does the film actually utilize this outstandingly one of a kind cast? Actually it does.
The film is unexpectedly scattered with all the ups and downs of Valentine’s Day from pink and red color schemes to an anti-Valentine’s piñata beat down. All of the scenes are either engaging and honest or delightful and light covering romantic scenarios that truly run the gauntlet. Seriously where else are you going to see Julia Roberts in fatigues and Anne Hathaway as an adult phone entertainer?
I honestly wish there was more to gripe about considering that this film is just a fun romantic comedy, but “Valentine’s Day” is fresh and enjoyable for every minute of the film. Much funnier than I ‘d expected and not insultingly mushy, Valentine’s Day is a perfect date movie which will be a surprise hit even for those romance cynics.
Movie Metropolis (309 KP) rated Downsizing (2017) in Movies
Jun 10, 2019
This little film has big shoes to fill
Alexander Payne was clearly vying for Oscars attention when it came to penning the screenplay for Downsizing. And why not, he’s certainly got form in the awards department. A two-time Oscar winner with a further three nominations, his films have been bold and topical.
That topical trademark shows no signs of dissipating with Downsizing, as Payne takes on the themes of overpopulation and the effects it’ll have on us in the future. But is the resulting film one of his best works? Or are we looking at a bit of a dud?
When scientists discover how to shrink humans to five inches tall as a solution to overpopulation, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their cash-strapped and stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures in more ways than one.
The film certainly gets off to a good start before it even begins. Just look at the cast! With Matt Damon, Kristen Wiig, Laura Dern, Christoph Waltz, Neil Patrick Harris and Jason Sudeikis being just some of the actors on the roster here, there’s certainly a lot of talent about. And things continue to look very good indeed.
Downsizing starts out great. In fact, it has one of the best first acts of any film I’ve seen as we are introduced to the concept of downsizing and the lives in which its partakers lead. Damon is a magnetic leading presence and oozes charm throughout the film. It’s also genuinely funny with a script that knows how to garner laughs from the audience without delving into unnecessary slapstick.
To look at, Downsizing is really rather lovely. Filled with clever special effects, it’s a pleasure to watch and fascinating to sit there and think about all the camera trickery required to pull it off. Watching a miniature ship pull bottles of vodka is strangely satisfying.
And then, about 45 minutes in, things start to go rapidly downhill. So downhill that I left the cinema wondering how on earth a movie that began so positively, could result in a middle and final act so disappointingly ordinary. On the journey home, I used that time to think of the reasons.
That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end
Firstly, that talented cast I spoke about earlier is completely and utterly wasted. Outside of Damon, each of the brilliant actors is given a glorified cameo that makes little-to-no difference on the final outcome. Laura Dern is in the film for less than 3 minutes – in fact, her scene is exactly what you see in the trailer. Christoph Waltz plays a bizarre Serbian playboy who is funny and irritating in equal measure and the less said about Kristen Wiig’s part the better.
Secondly, the story just doesn’t do enough with its fascinating premise. We get a vague environmental message about the beauty of nature and the fragility of life, but the idea of downsizing and the beautiful residences of “Leisureland” are merely a shell for Damon to go from scene to scene. His adventures with Hong Chau, which make up the bulk of the overstuffed 132-minute runtime, are pleasant enough, but we want to see more of the people who have decided to shrink themselves.
Thirdly, the tone is an absolute mess. Is it a comedy? What about a drama? Perhaps a rom-com? Who knows! That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end.
Finally, the ending is absolutely dreadful and one of the worst ever put to film. I’m not sure if Payne thought it would be a good idea to leave the movie open to a sequel but there is absolutely no payoff to the previous 130-or-so minutes whatsoever. It just falls flat.
Overall, Downsizing has a brilliant premise and a wonderfully talented cast, but each of those is wasted and that’s unforgivable. What starts out as a clever piece of social commentary about the issues we, as a species, currently face, ends up becoming one of the most ordinary films you’ll ever see and a bit of a misstep for the usually superb Alexander Payne. It’s certainly his worst film to date.
https://moviemetropolis.net/2018/01/27/downsizing-review-this-little-film-has-big-shoes-to-fill/
That topical trademark shows no signs of dissipating with Downsizing, as Payne takes on the themes of overpopulation and the effects it’ll have on us in the future. But is the resulting film one of his best works? Or are we looking at a bit of a dud?
When scientists discover how to shrink humans to five inches tall as a solution to overpopulation, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their cash-strapped and stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures in more ways than one.
The film certainly gets off to a good start before it even begins. Just look at the cast! With Matt Damon, Kristen Wiig, Laura Dern, Christoph Waltz, Neil Patrick Harris and Jason Sudeikis being just some of the actors on the roster here, there’s certainly a lot of talent about. And things continue to look very good indeed.
Downsizing starts out great. In fact, it has one of the best first acts of any film I’ve seen as we are introduced to the concept of downsizing and the lives in which its partakers lead. Damon is a magnetic leading presence and oozes charm throughout the film. It’s also genuinely funny with a script that knows how to garner laughs from the audience without delving into unnecessary slapstick.
To look at, Downsizing is really rather lovely. Filled with clever special effects, it’s a pleasure to watch and fascinating to sit there and think about all the camera trickery required to pull it off. Watching a miniature ship pull bottles of vodka is strangely satisfying.
And then, about 45 minutes in, things start to go rapidly downhill. So downhill that I left the cinema wondering how on earth a movie that began so positively, could result in a middle and final act so disappointingly ordinary. On the journey home, I used that time to think of the reasons.
That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end
Firstly, that talented cast I spoke about earlier is completely and utterly wasted. Outside of Damon, each of the brilliant actors is given a glorified cameo that makes little-to-no difference on the final outcome. Laura Dern is in the film for less than 3 minutes – in fact, her scene is exactly what you see in the trailer. Christoph Waltz plays a bizarre Serbian playboy who is funny and irritating in equal measure and the less said about Kristen Wiig’s part the better.
Secondly, the story just doesn’t do enough with its fascinating premise. We get a vague environmental message about the beauty of nature and the fragility of life, but the idea of downsizing and the beautiful residences of “Leisureland” are merely a shell for Damon to go from scene to scene. His adventures with Hong Chau, which make up the bulk of the overstuffed 132-minute runtime, are pleasant enough, but we want to see more of the people who have decided to shrink themselves.
Thirdly, the tone is an absolute mess. Is it a comedy? What about a drama? Perhaps a rom-com? Who knows! That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end.
Finally, the ending is absolutely dreadful and one of the worst ever put to film. I’m not sure if Payne thought it would be a good idea to leave the movie open to a sequel but there is absolutely no payoff to the previous 130-or-so minutes whatsoever. It just falls flat.
Overall, Downsizing has a brilliant premise and a wonderfully talented cast, but each of those is wasted and that’s unforgivable. What starts out as a clever piece of social commentary about the issues we, as a species, currently face, ends up becoming one of the most ordinary films you’ll ever see and a bit of a misstep for the usually superb Alexander Payne. It’s certainly his worst film to date.
https://moviemetropolis.net/2018/01/27/downsizing-review-this-little-film-has-big-shoes-to-fill/
Gareth von Kallenbach (968 KP) rated Elle (2016) in Movies
Jul 12, 2019
The end of 2016 is just a few short weeks away. That being said, studios and filmmakers across the world are rolling out the few remaining big budget blockbusters and potential breakout independent masterpieces before year’s end. Among them is today’s film for your consideration. A film that has already received international acclaim when it premiered in competition for the Palme d’Or at the 2016 Cannes Film Festival as well as several awards including the Gotham Independent Film Award For Best Actress, the Los Angeles Film Critics Association Award for Best Actress, a New York Film Critics Association Award for Best Actress, and a Golden Globe Award Nomination for Best Actress for the film’s star, celebrated French film and stage actress Isabelle Huppert. The film would later go on to be selected as the French entry for Best Foreign Language Film at the 89th Academy Awards.
‘Elle’ ( meaning ‘her’ or ‘she’ in French) is an internationally co-produced psychological thriller directed by Paul Verhoeven. Yes, THAT Paul Verhoeven of ‘RoboCop’ , ‘Basic Instinct’, ‘Starship Troopers’, ‘Showgirls’, and ‘Total Recall’ fame. Hold on a second. Before you take his track record of recent works into account just hear me out. The film is based on the 2012 novel “Oh …. ” by French/Armenian author Philippe Djian which won the prix Interallie literary award for a novel written by journalist. ‘Elle’ is Verhoeven’s first French language film and his first film since 2006’s ‘Black Book’.
The film stars Isabelle Huppert as business woman Michele Leblanc. Mother, divorce, and head of a video game company who is viciously attacked and raped in her home late one night by an unknown assailant wearing a ski mask. Rather than report this to the police, she quickly ‘cleans up the mess’ and carries on with life as usual. The film also features several subplots that intricately weave into the film’s main storyline. Michele has a son Vincent (Jonas Bloquet) who is engaged to his unfaithful and domineering girlfriend Josie (Alice Isaac). Their relationship is strained due to Vincent’s lack of direction and his refusal to break off the relationship with Josie who is pregnant by the man she cheated on Vincent with. Michele’s relationship with her mother is also strained due to her mother’s narcissism and preference for younger men. A point of increasing animosity between Michelle and her mother is the fact that Michelle refuses her mother’s request to visit Michelle’s father, a convicted cereal killer, in prison. Meanwhile, Michele is carrying on an affair with Robert (Christian Berkele). The husband of her business partner and best friend Anna (Anne Consigny) while at the same time developing a fixation with Patrick (Laurent Lafitte). A banker and husband of Michele’s religiously devout neighbor Rebecca (Virginie Efira). All this, combined with the turmoil going on within Michele’s company make her reluctant to involve the police in anyway.
Soon Michele grows suspicious of all the men in her life and begins to ‘stalk in reverse’ those in particular might have the strongest motivation to do her harm. At first she suspects Kurt (Lucas Prisor). A particularly resentful employee of her company and even her ex-husband Richard (Charles Berling) who Michele inadvertently pepper-sprays while he was hiding outside her home checking on her safety. Despite pleas from Richard, her friends, and fearing another media frenzy similar to the one that occurred during her childhood when her father was arrested Michele continues with life as usual on the surface. In secret though, Michele is arming herself and using her company’s resources in an attempt to find her attacker and exact her own vision of retribution in this twisted cat and mouse game.
This film is by far one of the best thrillers I’ve seen in the last few years. In my opinion, we here in America don’t partake in enough of the films our neighbors in other countries have to offer. This film doesn’t ‘play it safe’. The story plays out in a realistic and believable manner. This is another one of those rare stories where there are really no ‘happy endings’ in the situation such as depicted in the film. It’s harsh, it’s in your face, it’s plausible, the innocent unfortunately suffer along with the guilty. Punishing the guilty is never enough and sometimes harms the victim(s) even more over the course of time. The film is rated R for depictions of physical and sexual violence and clocks in just past 2 hours. If you’re searching for a well written, well directed, and even better acted film. This psychological thriller is definitely for you. I expect this film will continue to garner more acclaim and even more awards. I’m giving this one 4 out of 5 stars.
‘Elle’ ( meaning ‘her’ or ‘she’ in French) is an internationally co-produced psychological thriller directed by Paul Verhoeven. Yes, THAT Paul Verhoeven of ‘RoboCop’ , ‘Basic Instinct’, ‘Starship Troopers’, ‘Showgirls’, and ‘Total Recall’ fame. Hold on a second. Before you take his track record of recent works into account just hear me out. The film is based on the 2012 novel “Oh …. ” by French/Armenian author Philippe Djian which won the prix Interallie literary award for a novel written by journalist. ‘Elle’ is Verhoeven’s first French language film and his first film since 2006’s ‘Black Book’.
The film stars Isabelle Huppert as business woman Michele Leblanc. Mother, divorce, and head of a video game company who is viciously attacked and raped in her home late one night by an unknown assailant wearing a ski mask. Rather than report this to the police, she quickly ‘cleans up the mess’ and carries on with life as usual. The film also features several subplots that intricately weave into the film’s main storyline. Michele has a son Vincent (Jonas Bloquet) who is engaged to his unfaithful and domineering girlfriend Josie (Alice Isaac). Their relationship is strained due to Vincent’s lack of direction and his refusal to break off the relationship with Josie who is pregnant by the man she cheated on Vincent with. Michele’s relationship with her mother is also strained due to her mother’s narcissism and preference for younger men. A point of increasing animosity between Michelle and her mother is the fact that Michelle refuses her mother’s request to visit Michelle’s father, a convicted cereal killer, in prison. Meanwhile, Michele is carrying on an affair with Robert (Christian Berkele). The husband of her business partner and best friend Anna (Anne Consigny) while at the same time developing a fixation with Patrick (Laurent Lafitte). A banker and husband of Michele’s religiously devout neighbor Rebecca (Virginie Efira). All this, combined with the turmoil going on within Michele’s company make her reluctant to involve the police in anyway.
Soon Michele grows suspicious of all the men in her life and begins to ‘stalk in reverse’ those in particular might have the strongest motivation to do her harm. At first she suspects Kurt (Lucas Prisor). A particularly resentful employee of her company and even her ex-husband Richard (Charles Berling) who Michele inadvertently pepper-sprays while he was hiding outside her home checking on her safety. Despite pleas from Richard, her friends, and fearing another media frenzy similar to the one that occurred during her childhood when her father was arrested Michele continues with life as usual on the surface. In secret though, Michele is arming herself and using her company’s resources in an attempt to find her attacker and exact her own vision of retribution in this twisted cat and mouse game.
This film is by far one of the best thrillers I’ve seen in the last few years. In my opinion, we here in America don’t partake in enough of the films our neighbors in other countries have to offer. This film doesn’t ‘play it safe’. The story plays out in a realistic and believable manner. This is another one of those rare stories where there are really no ‘happy endings’ in the situation such as depicted in the film. It’s harsh, it’s in your face, it’s plausible, the innocent unfortunately suffer along with the guilty. Punishing the guilty is never enough and sometimes harms the victim(s) even more over the course of time. The film is rated R for depictions of physical and sexual violence and clocks in just past 2 hours. If you’re searching for a well written, well directed, and even better acted film. This psychological thriller is definitely for you. I expect this film will continue to garner more acclaim and even more awards. I’m giving this one 4 out of 5 stars.